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VRNT presents VRLTD008, bringing together French producer Praymond with remixes by Guy From Downstairs and Cabanne. The label, vinyl-only, rooted in minimal techno and deep house, originally founded in Calgary and based in the Canada/USA-region, has built a reputation for high-quality, rhythm-centered releases. With L’odeur des rêves, Praymond delivers two originals and two reinterpretations that move in the micro-house and deep-house spectrum with subtlety and refinement. The A-side track presents a detailed groove with space and elegance; the Guy From Downstairs remix expands that vision with his signature swing. On the flip, “73 Infuse” anchors the release, and Cabanne’s remix reshapes the piece with clarity and finesse.
This 12″ (transparent vinyl, 140 g, four cuts) speaks to selectors and listeners who value texture, groove and mood ahead of showmanship. VRNT’s catalogue emphasises these traits, and this release slots in perfectly, warm, composed, and deeply musical.

Berlin-based artist and label head Tom Peters returns to his techno-focused imprint ...isserving with IS011 - CAN U, a refined four-track vinyl-only release that channels groove,hypnosis, and physical intensity in equal measure.
The EP opens with "CAN U", a deep yet propulsive cut built around metallic percussion,textured synths, and a haunting vocal hook. Its stripped precision and subtle emotionalcharge reflect Peters' evolving sound-somewhere between warehouse minimalism andlate-night transcendence.
Ketch, from the SYXT collective, reimagines the title track with raw drive and rhythmicprecision. His remix sharpens the low-end punch while unfolding layers of atmospherictension that feel both industrial and intimate.
On the flip, "Control Conscious" dives deeper into Tom's hypnotic palette-dark, groove-heavy, and cinematic in its design.
Steffi's remix closes the EP with her signature blend of deep techno and Detroit-infusedswing: warm chords, tight percussion, and a dynamic arrangement that nods to bothemotion and functionality.
Pressed on 140g black vinyl in a limited run of 300 copies, CAN U EP encapsulates thecore spirit of ...is serving-techno with groove, depth, and emotional intelligence.

Eclection’s lack of commercial success remains a mystery to this day. This selection of BBC Top Gear recordings demonstrates their song-writing strength and musical prowess. Only three tracks appeared on the band’s sole studio LP: the remaining nine songs suggest what a second LP might have sounded like. Highly recommended to fans of Fairport Convention, with whom Eclection share some musical DNA.
Comes with full recording credits and extensive sleeve notes.
Recording Quality Very Good/Excellent throughout.

Originally dropped in 2016 on Aiwo Rec., Forum's self-titled EP became one of those secret weapons whispered about in after-hours corners. It's a hazy blend of dusty drum machines, rolling 303s and dreamy breaks that bottled the spirit of Germany's late-night underground at the height of the so-called "outsider house" wave. Now back via WARNING, this reissue keeps everything intact, from the tropical drift of 'Yucatan' to the sheer groove hypnosis of 'Space Train.' It's an EP that moves between house, breakbeat and sunrise euphoria with a knowing hand. A modern cult classic reborn.

Originally released in 1968, James Taylor is the debut studio album by American singer-songwriter James Taylor. This UK edition reissue by Endless Happiness brings back the album's rich blend of folk and rock influences, showcasing Taylor's introspective songwriting and soothing vocals. The album includes notable tracks such as "Carolina in My Mind" and "Something in the Way She Moves," which have become staples in Taylor's repertoire.

The album that launched a thousand heavy-hearted singer-songwriters on their not-so-merry way, Sweet Baby James was arguably the first shot in what became the soft revolution of the early '70s. Taylor struck commercial gold with Sweet Baby James by augmenting his acoustic guitar and soothing vocals with laid-back accompaniment and penning a slew of songs that drew upon folk, soul, and rock influences. Musically mellow and lyrically restive, it put Taylor in the Top 10 and set the tone for a popular school of '70s sound.

This album is a fiercely political and genre-defying album that blends funk, jazz, soul, and rock with sharp social commentary. McDaniels channels the turbulence of early-’70s America into surreal, poetic lyrics that critique racism, war, capitalism, and hypocrisy. The record’s raw grooves, off-kilter rhythms, and biting wit make it both musically adventurous and lyrically fearless — a cult classic that prefigured conscious soul and hip-hop’s political edge.

4 Way Street is the second and live album by David Crosby, Stephen Stills, Graham Nash, and Neil Young. It was released in 1971 with the live recordings taken from the band's shows during their 1970 tour around the USA. The album reached No. 1 on the Billboard 200 and was awarded a gold record. This is the first 2LP reissue since 1986 and it contains two bonus tracks on sides C and D: the at-the-time unreleased "Black Queen" from Stephen Stills and a medley made up of “The Loner - Cinnamon Girl - Down By The River” performed by Neil Young.

Originally released in 1983 on I.D. Records, Wreckin’ Crew catches The Meteors in peak, feral form, a scorching burst of early psychobilly loaded with slapping bass, jagged guitars, and P. Paul Fenech’s unmistakable snarl. A true cult favorite, the album helped spark the infamous “wrecking” style and cemented the band’s reputation as the genre’s loudest and most unapologetic force. A high-voltage classic, back on vinyl where it belongs. Still wild, still unhinged, still essential. Turn it up and let the chaos loose.

Originally released in 1983 on I.D. Records, Wreckin’ Crew catches The Meteors in peak, feral form, a scorching burst of early psychobilly loaded with slapping bass, jagged guitars, and P. Paul Fenech’s unmistakable snarl. A true cult favorite, the album helped spark the infamous “wrecking” style and cemented the band’s reputation as the genre’s loudest and most unapologetic force. A high-voltage classic, back on vinyl where it belongs. Still wild, still unhinged, still essential. Turn it up and let the chaos loose.

A previously unissued post-bop document from 1970, Jyväskylä Workshop Band 1970 assembles American saxophonist Charlie Mariano, Norwegian bassist Arild Andersen and Finnish luminaries Heikki Sarmanto, Eero Koivistoinen, Paroni Paakkunainen, Seppo Ranniko, Pekka Pöyry, Edward Vesala and Matti Koskiala. Professionally captured in concert, the album delivers a vibrant set of groovy, exploratory and subtly exotic tunes that helped assert Finland’s place on the international jazz map.

The first vinyl release on the rndm.club label — the single Wellew — Radi Tebya — includes remixes from artists such as Roma Zuckerman, Rayme, and Damne.

'Nicolò's Static forays deep into liminal space, where signal decays, rhythm stutters and sub-pressure thrums.
'The four-track EP is the inaugural transmission from Nicolò’s own Exploring Records. Melancholy bleeds through the frequencies, yet the pulse remains restless, insectoid, off- kilter.
'Here we pace darkened corridors of flickering projections and half-remembered futures, setting the direction for what’s next...'

'A Senegalese Griot singer, an Amsterdam improviser and a Puerto Rican jazz drummer find each other on an open playground, a stage built for improvisation, an old cinema now used for minute made story telling.
'Equipped with an m'bira, a xalam, a drum kit, a voice, percussion, house hold tools and an electric clavichord on 220 volt, they sit down and take off: Wrrrrrraaang!
'Singer and percussionist Mola Sylla is in many ways a musical explorer. Born and raised in Dakar, Senegal, he grew up in the tradition of the griots. Griots play conveying stories – sometimes decorated with music, theater and dance – which all play an important role in West African culture. His rhythm and melodic compositions differ from the western agreed schedules and provide surprising twists.
'Puerto Rican drummer Frank Rosaly has been involved in the improvised and experimental music scenes since 2001 when he became an integral part of Chicago's musical fabric, navigating a fine line between the vibrant improvised music, experimental, rock and jazz communities.
'Oscar Jan Hoogland is the sound of Amsterdam in person. He is an instant composer and inventor of his own instrument by joining a clavichord, a keyboard instrument from the 17th century, to 220 Volt electricity. As the last student of the late pianist, composer and improvisor Misha Mengelberg he tears like a tornado through the Amsterdam jazz and impro scene.
'Together they are Mother Tongue.'

The Temptations Get High on Psychedelic Soul: Cloud Nine Soars with Ambitious Arrangements and Production, Features Standout Vocal Performances and Instrumentation by the Funk Brothers

The Temptations’ Cloud Nine announced that Motown — and “The Sound of Young America” — would never be the same. Influenced by the emergence of cutting-edge rock and pop currents, as well as increasing sociopolitical turmoil, the album broke down barriers between rock, psychedelia, and soul while heralding the arrival of visionary arrangements and production techniques. Bookended by traditional R&B numbers, the 1969 record sent the Temptations in bold new directions and signaled the advent of psychedelic soul.

Sourced from the original master tapes, strictly limited to 3,000 numbered copies, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45PM 2LP set presents Cloud Nine in audiophile sound for the first time on a domestic pressing. This collectible reissue bestows Norman Whitfield’s extraordinary production with the grand-scale dynamics, natural tonality, expansive openness, and low-end weight it deserves. The timbre of each of the five members’ voices is readily identifiable — even within the group harmonies — bestowing a realism never experienced outside the recording studio.

Making its debut on 45RPM, the album further benefits from the wide groove space by playing with greater separation and more realistic presence than prior editions. Everything from the brassiness of the horns to the dry snap of the snare comes across with reference-grade clarity and positioning. And since Motown’s renowned Funk Brothers backing band plays on many of the cuts, you’ll want to savor every note. The imaging, soundstaging, and organic bloom-and-decay of the notes make that possible.

Amid Cloud Nine, the instrumentation and architecture stand out as much as any element. Never before had a Motown album contained such ambitious patterns and complex passages. Seemingly conscientious of the departure from their past methods, the Temptations and Whitfield bunched together the tracks that mark a deep dive into psychedelic territory and counterbalance them with seven sterling soul cuts that dovetail with Motown tradition drenched with heartfelt vocals, swelling strings, and finger-snapping beats.

On the original 33RPM release, traditional Motown soul — laden with heartfelt vocals, swelling strings, and finger-snapping beats — occupies Side Two. These songs reveal an ensemble still very much on top of delivering pristine pop-soul material graced with romantic sweetness, persuasive insistent, and soaring highs. Re-energized after the departure of lead singer David Ruffin, who was fired for a variety of reasons in June 1968, the Temptations seamlessly meld with his replacement, Dennis Edwards, on one melodic gem after another.

The collective tackles five songs co-written by the legendary Motown team of Barrett Strong and Whitfield. Not the least of which are the smooth, shuffling “Why Did She Have to Leave Me (Why Did She Have to Go)” and deceptively simple, horn-spiked “Gonna Keep on Tryin’ till I Win Your Love.” On these tracks, as well as on a lush rendition of the ballad “Love Is a Hurtin’ Thing” and pleading, tender send-up of the Gerry Goffin-Carole King classic “Hey Girl,” Edwards and Paul Williams take turns on the lead with the estimable Eddie Kendricks, Melvin Franklin, and Otis Williams providing backing support.

All five vocalists trade-off leads on the simmering title track, a groundbreaking composition shot through with wah-wah-pedal effects, liquid funk, deep bass lines, Cuban percussion, saturated reverb, and gang choruses. Whitfield mines each member’s natural vocal range with spectacular results, keeps time with cymbals, and channels both the heated temperatures and escapist desires of a society embroiled in war, conflict, and experimental drugs.

Amazingly, the Temptations top themselves on the similarly revealing “Run Away Child, Running Wild.” Nearly 10 minutes in length, the song explodes R&B parameters and harbors a cinematic scope. Urgent pianos, distorted guitars, stripped-down percussion, steamy Hammond organs, minimal bass motifs, five distinct voices narrating the tale of a boy who fled home and now finds himself amid the scary, unforgiving external world: They combine to give the urgent tune a walls-closing-in atmosphere where fear and desperation reign. Bolstered by an extended instrumental section that precedes a climactic return of the singers’ voices, “Run Away Child, Running Wild” equaled the success of the record’s title track, with both reaching No. 6 on the pop charts.

How enduring is the signature song from Harry Chapin’s Verities & Balderdash? So timeless that it became the subject of a 2025 documentary in which artists from multiple generations weigh in on its impact on their lives and craft. “Cat’s in the Cradle” doubtlessly remains the main event on the singer-songwriter’s 1974 album. The legendary opening track also serves as a guidepost for the bold personal and social material that follows — as well as the gorgeous folk-rock arrangements that underpin the New York native’s most commercially successful work.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, housed in a Stoughton jacket complete with a four-page insert, and strictly limited to 3,000 numbered copies, Mobile Fidelity’s 180g 33RPM LP of Verities & Balderdash presents Chapin’s fourth full-length in audiophile quality for the first time on vinyl. Captured during a golden era for sonics and production, the Top 5 effort features remarkable tonal balance, instrumental separation, and organic naturalism. Those valued aspects come into supreme focus on this reissue, which plays with dead-quiet surfaces and a low noise floor.

The newfound clarity, openness, and imaging underscore the lasting appeal of Chapin’s tender deliveries, soulful timbre, and careful phrasing. Every word comes across with incredible realism, while his underrated guitar playing occupies its own distinctive space. Also notable: The extension of the tasteful string accents; airiness of the backing vocals; depth and shape of the spare bass lines; and width and depth of the soundstaging. When on “Six String Orchestra” Chapin calls out names of instruments, they appear like magic, the band performing feet from you. Chapin has never sounded so lifelike on record.

Certified double platinum, Verities & Balderdash resonated with the times and public. “Cat’s in the Cradle” reached No. 1 on the chart on its way to being inducted into the Grammy Hall of Fame. The romantic ballad “I Wanna Learn a Love Song” flirted with the Top 40 and wrapped listeners in the equivalent of a cozy blanket. The record’s other single, the mini-epic “What Made America Famous?,” helped establish Chapin as one of the country’s most incisive and insightful commentators.

Verities & Balderdash teems with situational devices and topical matters. Chapin observes everything from the polarization of the nation to changes in moral standards and cultural priorities. He investigates pressing themes without ever turning preachy or elevating himself above the matters at hand. On “Halfway to Heaven,” whose coda races to the finish and ranks as the most urgent moment on the record, Chapin inhabits the mind of his frustrated protagonist akin to an eagle-eyed novelist.

Conveying emotions that range from melancholic to carefree, Chapin is as much of a singer as a storyteller. He assumes the voice of multiple characters within a single narrative. During the quirky “30,000 Pounds of Bananas,” a tale based on a delivery-truck accident in 1965, Chapin alters his delivery, pronunciation, and diction to become an old man reflecting on the mishap and mess. The tempo, too, adjusts to match the speed of the vehicle Chapin describes.

Adorned with timely laugh tracks to reinforce the bittersweet humor, the stripped-down “Six String Orchestra” takes everything up another notch, with Chapin intentionally missing guitar notes or playing a broken passage to illustrate the failures of the hopeful protagonist who doesn’t have what’s required to make it as an artist.

Chapin, of course, did not have any such problem. The lynchpin of a career cut short by a tragic traffic incident, Verities & Balderdash is Exhibit A of the savvy craft, feeling, and perspective he lent to American music.

This is a highly limited pressing, please order your desired quantity and we’ll see what we can supply.

We are pleased to be back with the talented Groof, the experienced producer from Madrid’s legendary electronic music scene, who is responsible for our eighth release and his debut on Kontralamakina.

We welcome you to “Simulation.” This EP/LP consists of a collection of 5 tracks that explore repetition and dynamism, with structures generated by various noise sources and algorithmic sequencing with a raw and forceful sound. It consists of excellently stomping techno rawness exercises.

Plus 1 remix by the techno legend Oscar Mulero Remix; Outstanding mind bending tools, Expertly careful Drone treatments, Stunning, deep, atmospheric but energetic Techno voyage.

MCRV019 – VA – Phase Drift. Passage is a graceful and emotionally nuanced four-track journey through modern deep tech house. Blending reimagined echoes of early 2000s deep sounds with forward-thinking production, the release moves between moods and textures with surgical control and quiet sophistication. It’s an EP that balances warmth and restraint, melancholy and motion — built for selectors who appreciate finely tuned emotional arcs.

A1. Stephano Franca – Arriving opens with a fluid, introspective piece. Gentle and melancholic, it glides with cinematic poise, drawing listeners into a state of suspended reflection.
A2. Dot – Distance Call introduces a percussive, tribal undercurrent — earthy and grounded, yet full of bounce. It energizes the space while maintaining depth and groove.

Flipping over, B1. Reenday – Last Call (Nicolas Barnes Remix) brings a refined sense of cold elegance. Dubby and atmospheric, it’s a minimalist piece that evokes distance and stillness — a cool breath in the night.
Closing the release, B2. Jeronimo Watson – On The Prowl is a deep tech gem — emotive, seductive, and sharply detailed. With a slow-burning energy, it brings the record to a confident and composed close.

From Brazilian talent Stephano Franca to Dot and Nicolas Barnes, two of the label’s most precise and consistent producers, and rising standout Reenday, a finalist of the ANTS: NEXT GEN Artist Program 2025, this release represents the current essence of MixCult. It is sealed by the distinct touch of Jeronimo Watson, whose Los Angeles–rooted sound closes the circle with style.

Phase Drift. Passage is not just a collection of tracks — it’s a refined toolkit for navigating emotional shifts and dancefloor narratives, framed by elegance and intention.

Limited Edition.

Following the chart success of their debut album Survival Mode (#3 UK Official Rock & Metal Chart) and explosive appearances at Reading & Leeds, Download, TRNSMT and 2000Trees, THE HARA return with their most ambitious record to date. Backed by their signing to Mascot Records, the trio deliver a fearless, genre-bending album that fuses stadium-sized riffs, cinematic electronics and raw, unflinching lyricism. Having shared stages with Sum 41, Nothing More and Ice Nine Kills, THE HARA are ready to break through to the next level – and this album proves they’re one of the UK’s most vital rising rock acts.

Iridescent White w/ Blue Marble Color Vinyl in Gatefold Jacket